2/26/2008

THE MARVEL VAULT by Roy Thomas & Peter Sanderson (Running Press)
A head-scratching waste of the appropriated “Treasures” format, as most of the (poorly reproduced) inserted “collectibles” could just have easily been printed on the pages of this slight, hardly essential addition to the Marvel Comics History canon. No doubt heading for the remainder table fast.

Vince Guaraldi, THE LOST CUES FROM THE CHARLIE BROWN TELEVISION SPECIALS(D&D Music)
This collection of previously unreleased pieces from 1970s PEANUTS specials is nice, but not essential, and the misleading Xmas-themed cover design makes me pine for some still-unavailable material from the earlier GREAT PUMPKIN and CHARLIE BROWN CHRISTMAS shows (I want “Linus and Lucy” with flute!).

PAINT BY NUMBER by William Bird (Princeton Architectural Press)
A loving look at the craft craze of the 1950s that infuriated art critics but became an indelible part of Americana. Bird’s book tends to repeat itself, and the overall design is a bit bland, but it’s a fun, eye-opening look at an oft-dismissed chunk of culture.

THE DC COMICS ACTION FIGURE ARCHIVE by Scott Beatty (Chronicle Books)
A travesty. Myopically written, hideously designed, peppered with errors and omissions, including no photos for more than half of the figures listed (with NO packaging displayed and many accessories absent), this is the opposite of an archive. Incredibly, this may well be the ugliest book Chronicle has ever published.

GOD IS NOT GREAT by Christopher Hitchens (Twelve Books)
Granted, Hitchens’ polemic style can be off-putting, but no one can discount the man’s passion, intelligence and most of all, first hand experience in seeing “how religion poisons everything.” Hitchens is no armchair atheist, and this powerful book should be read by everyone, secular or not.

NO COUNTRY FOR OLD MEN
It’s not just Javier Bardem’s chilling portrayal of hitman Chigurh that makes this the best movie of 2007. The Coen Brothers’ masterfully craft a leisurely, hypnotizing tale that emphasizes the randomness of existence in a manner that may be nihilistic, but is nonetheless exhilarating. Sheer genius on all levels.

SUPERMAN VS. HOLLYWOOD by Jake Rossen (Chicago Review Press)
Despite a surprising ignorance of Superman’s comic book lore (Mario Puzo is mistakenly credited with the idea of making Clark Kent a TV reporter, something he was in the ‘70s comics), this is a highly entertaining history of the myriad (mostly bad) plans to bring Kal-El to celluloid life.

I AM LEGEND
Surprisingly not bad aside from the forced happy(ish) ending and the truly awful CGI-night walkers (fake monsters are never scary regardless of number). Will Smith conveys a believable nigh-madness as the last man in New York, which looks truly amazing (and at times not all that unappealing).

THERE WILL BE BLOOD
The sum doesn’t quite equal the parts in Paul Thomas Anderson’s meditation on family and capitalism. Yes, Daniel Day-Lewis is mesmerizing as always, but by the end, his performance almost feels like schtick, and Johnny Greenwood’s SHINING-esque soundtrack is derivative and often grating. I drink your milkshake, indeed.

MICHAEL CLAYTON
A masterfully acted (George Clooney and Tom Wilkinson particularly), beautifully shot, wonderfully gray examination of greed, morality, human frailty and redemption, capped with one of the most satisfying conclusions in film history. My only complaint: Why such a dull title for such a lyrical film?

PERSEPOLIS
Too much self-absorbed narcissism lessens the impact of what could’ve been an amazing look into the conflicts, both personal and political of a young Iranian girl growing up during the Islamic Revolution. I expected more drama and less melodrama (It’s like ISLAMIC PROZAC NATION). It is visually stunning, though.

THE BATMAN Season 5
Funny how it took mostly abandoning the ill-advised anime-inspired tone and look of the early seasons for this show to finally find itself. This season’s “Brave and the Bold” guest-star gimmick has infused more fun into a previously-tedious superhero show (but I still hate that Rasta-Joker).

CLOVERFIELD
Aside from the initial exploitation of 9/11 (so blatant and offensive that I almost walked out) and a bland, floppy CW-ready cast, this BLAIR WITCH–meets-GODZILLA (overused but apt) does its jolting job. Still, why not a mixed bag of characters thrown together with more believable motivation and less detestable personalities?

...and don't call me CHIEF!

Bitten by a radioactive silverfish at the age of five, Karl Heitmueller Jr. (aka Kalli, aka Pops Gustav) gained the power of pop culture hyper-perception.
Now as an adult, he writes, draws and cartoons about comics, movies, television, music, Superman, advertising, design, politics, religion, drinking and jerks.
Sometimes all at once.